Issue 13

Page 1



IN AN EFFORT TO SHOW OUR ENORMOUS GRATITUDE, WE WISH TO PAUSE AND EXPRESS OUR THANKS TO THOSE THAT LOSE SLEEP, BEND THEIR BRAINS, EXTEND THEIR TALENTS, PROVIDE US INSPIRATION, AND GIVE US THE VISION AND SUPPORT WE NEED. WE ARE SO THANKFUL FOR EACH AND EVERY PERSON THAT DIRECTLY OR INDIRECTLY HELPED MAKE ISSUE 13 POSSIBLE.


wørks

5 15 25 36 45 65

BENJAMIN VNUK

BEKA

MATTEO CARCELLI

PASSAGES

RODOLFO MARTINEZ

ANMARI

LUCIEN CLERGUE

A MASTER OF LIGHT

HUGH LIPPE

HANNE

NICOHLAS ALAN COPE

RONIN


81 92 103 111

HANNAH KHYMYCH

KID

SOLANES

STREET ART

JORDAN HEMINGWAY

OUTLANDISH ZHANG DALI

THE AGGRESSION OF REALITY

125 BEGINNINGS ALINA NEGOITA

145 SHLOHMO THERESE + JOEL

155

NACER PAUL

SARAH


5

BENJAMIN VNUK BEKA











14

MATTEO


CARCELLI

PASSAGES










25

ANMARI

RODOLFO MARTINEZ












36

LUCIEN

GEORGES CLERGUE 1934 - 2014

A MASTER OF LIGHT



Nude with Walter Pareo, Camargue 1966


Manitas de Plata and Jose Reyes with the Little Gypsy Dancer, Arles 1955


Gypsy Dancer at the Wedding, Arles 1963


Cocteau exhales from the set of “The Testament of Orpheus”, Les Baux de Provence 1959


Lucien Clergue, whose obsession with death runs through his most poetic images, has finally joined the other Greats. He left us shortly after his eightieth birthday and the honours given him during the Rencontres d’Arles photography festival this last summer. Lucien Clergue was born in 1934 as an only son in Arles, in the south of France. At the age of ten he experienced the destruction and poverty of war and the illness of his mother, both of which were to affect him profoundly. When he returned from evacuation to the countryside, it was to find a pile of rubble where his house had stood. He never forgot the spot where his house used to be… “See how the town has honoured me; that is the landmark showing the house where I grew up!” Clergue took care of his mother until her death when he was just eighteen years old. It was his mother who gave him a medium format camera for his thirteenth birthday. In 1953, Lucien waited for Pablo Picasso after a bullfight outside the arena in Arles and thrust a series of prints into his hands. The ruse worked and Clergue made a series of images he called the “Saltimbanques” for Picasso; featuring a group of circus children in a décor of bombed-out buildings. In 1955 he was granted access to Picasso’s villa La Californie, and thus began a lasting friendship between the two of them. In turn, Picasso opened doors, introducing Clergue to Jean Cocteau. Picasso and Cocteau were to help Clergue publish his first book, a series of nudes illustrating the poems of Paul Eluard. In 1959, Jean Cocteau gave Clergue carte blanche to document the filming of “The Testament of Orpheus”. A collector saw the photographs taken by Clergue and bought the whole series. Edward Steichen invited him to undertake a one-man show at New York’s Museum of Modern Art in 1961. His work was shown the following year, 1962, in the Pavillon de Marsan, at the Louvre in Paris. Over the years, Clergue formed lasting and influential relationships with many renowned people throughout the world, including St John Perse, Roland Barthes, Michel Tournier, James Jones, Ansel Adams, Andre Kertesz, Irving Shaw, Yasuhiro Ishimoto, Eikoh Hosoe, Henri Cartier-Bresson, Robert Doisneau, Brassai, Salvador Dali and countless others. In 1969 he launched the photography festival for which Arles is still famous, and founded the first national school of photography in his native town. He was the impresario for the Gypsy guitar phenomenon Manitas de Plata, whom he brought to New York to play at the Carnegie hall in 1966, and whom he introduced to Charlie Chaplin, Brigitte Bardot, Jeanne Moreau and Picasso. He directed over twenty short films and documentaries, and was both nominated for an Oscar and selected at the Cannes Film Festival for his documentary film “Delta of Salt” in 1968. In 2006, Lucien was elected the first photographer of the French Academie des beaux-arts in Paris, in the building where I67 years previously Louis Arago had announced to the world, “Photography is born”. In 2008 he was decorated Commandeur of the Order of Arts and Letters. After a short period of illness, Lucien Clergue passed away on the 15Th of November 2014. His funeral ceremony was held in the 12th century Church of Sainte Trophime in the town of Arles to which Clergue was faithful to the very end. Lucien leaves behind his widow Yolande, his daughters Anne and Olivia, as well as a huge body of work coveted by museums and collectors around the world. Lucien Georges Clergue Born: 14 August 1934 Died: 15 November 2014

By Katharine Cooper, printer and assistant to Lucien Clergue from 2004-2014


The Giantesses, Camargue 1978



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LIPPE HANNE





















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NICOHL AS AL AN COPE

RONIN
















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SOL ANES STREET ART













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JORDAN

HEMINGWAY OUTL ANDISH









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THE AGGRESION OF REALITY A CONVERSATION WITH ZHANG DALI Images by Klein Sun Galery NYC Words by J. Matthew Riva

Zhang Dali is no stranger to controversy. He openly discusses the things that matter to him most. Many still know him as a street artist. Between 1995 and 1998 Dali spray-painted buildings all over Beijing with his silhouette alongside the characters that are used to mark structures for demolition. His art continues to evolve and shows in the places that form the pillars of the contemporary art world and yet something about his work still seems hungry. I have had a few months to contemplate this interview yet walking down 22nd street to meet Dali at his gallery in NYC, I was no closer to knowing what to expect. It seems surreal that this classic Chelsea side street would serve as the backdrop for such a conversation, so far from the land that occupies this artist’s attention. Dali and his wife Patrizia, who was kind enough to agree to do the translation for us, greeted me at the door. There was a fragile stillness as we walked through his latest installation at Klein Sun Gallery titled “Square,” before sitting down for the interview. It soon became clear that his work remains unafraid.



“reality... it used to punch me in the face, but now there is no need for that. I have learned how to respond to the aggression of reality.�



MR: Squares all around the world hold a certain power in our collective psyche. Some have been constructed in order to cover up a former civilizations such as the Zocalo in Mexico City. Some have been part of the original city planning throughout the course of several civilizations such as Piazza Colonna in Rome. Both of these cases apply to Tiananmen Square, a place your describe as “holy” and “brimming with light.” How has physical place and history influenced this body of work? ZD: For the Chinese, Tiananmen Square is a very special place. When the standard of life was lower in China, and even today now that the standard of life is much higher, the most important picture for a family is taken in Tiananmen Square. If a family does not have a picture in Tiananmen Square it is seen as if something is missing or wrong. Of course my family has such a picture. And so after so many years I asked myself why did we do this. The answer is, in our hearts, this square is a holy place. It is not only the center of politics in China, and of power, it is also the center of life for many people. In an abstract way it is the center of their mind. If you don’t have this type of picture in your home it is as if you do not belong in China. There’s also a meaning in the reality of the physical world because the voice and the sounds coming from the square influence the life of everybody in China. The first time I went to Tiananmen Square was in 1975. At that time I was a little boy. But it was not until 1983, which was the year I went to Beijing to attend university, that I revisited the same square that it had an impact on my life. During this time I used to go there often, though it is not a relaxing place. On the one hand you are excited to be there and on the other hand you feel the pressure. There is a huge connection with what it represents historically. Every time you go there the first thing that comes to your mind are the words of Mao Tse-tung, when he proclaimed The People’s Republic of China. MR: I find it interesting that the square has gotten so much larger over time.

ZD: Yes, and I have never seen a square as big as this and it is true that any person would feel small there. It is not like the squares of Europe and its former colonies, they are designed to be inclusive in nature with public art, sculptures and the like. You can sit there and have a beer and converse with your friends. In Tiananmen Square you feel pressure to not behave that way. MR: The political history of Tiananmen Square, specifically the protests of 1989, had an effect on the consciousness of the whole world. How does this memory inform or co-inhabit space in your mind with the “dream” or “hopeful” version you are expressing in this body of work? ZD: What happened in ‘89 didn’t just have an influence on China, but also all the changes to the Soviet Empire. In the beginning it was a little square in front of the Imperial Palace, in 1949 it became the platform for the birth of a new republic and now the square dwarfs the original. It was constructed as a space for official ceremonies so the whole world could hear the messages spoken there. After 1989 it became a joke. My father’s generation trusted in a better future and they were sincere in this trust in their government. But after ’89 most of the people did not trust it anymore. This trust just vanished. I was there the night of the 3rd of June and this square has influenced my life every day since. It has a relationship with our identity, with the life of every Chinese citizen, but after ’89 it became a concrete influence and not just an idea. It completely changed my way of thinking. It caused great pain and it has haunted my thoughts. We lost our hope and the idea of a collective life was crushed. It was like a fist full of sand that you try to contain. You try to hold on to each grain but it slips away no matter how hard you try. It was a good pain though because I became myself. I don’t blindly believe anybody anymore. MR. It seems this epic date, 1989, influenced you in leaving china? ZD. If not for the 4th of June, I wouldn’t have thought of leaving China. I lost my hope, so I fled. MR. This sounds like the legend of the phoenix.

ZD. The phoenix must go into the fire to be reborn. I became an artist and became who I am through this experience. I don’t rely on what I am told. Now I think for myself. I became more self confident in my own strength. MR. The sentiment that was expressed in the protests of 1989 was one of democracy and freedom of expression of certain ideals. This brave act was both tragic and enlightening to watch unfold. The importance of this date has parallels with your story as an artist as you left China to see the world in that same year. How does the message of those protests share commonalities with contemporary Chinese art? ZD. Contemporary art in China was asking questions, doubting power, and the status quo in a political way since its beginning in 1989. After 25 years I am calmer and I’m older. I’m 51 now. It has been a long process, but every time I think of that moment, I still get strong feelings. I think that was the first time since 1949 that so many Chinese expressed their opinion. The Chinese government didn’t forecast that what was kept inside for so many years would explode in ’89. People don’t trust socialism anymore. Those months were not just political, there was everything inside our voice. People expressed themselves in many different and joyful ways. No one thought it would end in such a tragedy. MR. The dove is not present in Tiananmen. It seems an important part of your dream for the “Square” and what it represents. The dove is a symbol that holds special or even spiritual power as a metaphor in many cultures. What does the dove represent to you? ZD. The dove represents freedom. It is what is in my mind. I also hope one day there will be many squares with many doves and the political aspect of squares will disappear. The fact that people go or don’t go to Tiananmen will not matter anymore. If so many people say I need to go to Tiananmen Square just to take a family picture because of cultural pressure that is not good. For many in China being poor is a reality still and this trip can be a heavy burden on them. Maybe they are in their little village and they leave a good, safe and quiet life.






MR: Is this a pilgrimage of sorts for you? MR: Is this a pilgrimage of sorts for you? ZD. Yes (laughing) ZD. Yes (laughing) MR. The migrant Chinese worker’s everyday clothing seems elevated and transformed by MR. The migrant Chinese worker’s everyday its pristine white representation in this work. clothing seems elevated and transformed by What informed the decision to choose the its pristine white representation in this work. material and color for these pieces? What informed the decision to choose the material and color for these pieces? ZD. Every person is clean in their hearts. If you provide people with a good environZD. Every person is clean in their hearts. ment then everyone would be a saint. The If you provide people with a good environproblem is with collective society. White is a ment then everyone would be a saint. The collective color because it represents a lack problem is with collective society. White is a of individuality. These figures are transparcollective color because it represents a lack ent. They don’t exist or have “self.” They are of individuality. These figures are transpareverything and they are nothing at the same ent. They don’t exist or have “self.” They are time. everything and they are nothing at the same time. MR. Your cyanotypes (or Photograms) combine many old techniques: past chemical MR. Your cyanotypes (or Photograms) comphotographic processes, traditional Chinese bine many old techniques: past chemical rice paper, and ink. Despite this fact, they photographic processes, traditional Chinese appear to be very loose and modern. Can rice paper, and ink. Despite this fact, they you describe how process either informs appear to be very loose and modern. Can and/or underlines your work? you describe how process either informs and/or underlines your work? ZD. I have taken many photos. You could consider me a photographer. Five or six years ZD. I have taken many photos. You could ago I started to think about one problem parconsider me a photographer. Five or six years ticularly. Mobile phones were already popuago I started to think about one problem parlar. Everyday on the internet you could have ticularly. Mobile phones were already popumore than 100 million photos and some are lar. Everyday on the internet you could have really very good. But these photographers more than 100 million photos and some are are not artists. I think photography has been really very good. But these photographers killed by photography. What is the standard are not artists. I think photography has been now? What allows a person to call themkilled by photography. What is the standard selves a Photographer with a capital P in this now? What allows a person to call themera of technology? It is hard to see intent. selves a Photographer with a capital P in this In the past the photographer could master era of technology? It is hard to see intent. a technique and tool that was not available In the past the photographer could master to everyone and because of this the photoga technique and tool that was not available rapher had a certain power. Cameras and to everyone and because of this the photogphotography tools were very expensive but rapher had a certain power. Cameras and today this is no longer the case. The barriers photography tools were very expensive but are gone now. Maybe you even spend some today this is no longer the case. The barriers money and take some pictures in a remote are gone now. Maybe you even spend some place but now anyone can do this with their money and take some pictures in a remote smartphone. place but now anyone can do this with their smartphone.

ZD. I don’t see myself as more optimistic. I am still angry towards Chinese sociZD. I don’t see myself as more optimisety but what can I do? If you can’t change tic. I am still angry towards Chinese sociyour counterpart then change yourself. I’m ety but what can I do? If you can’t change still in pain when I look at society in China. your counterpart then change yourself. I’m If I live inside that anger everyday there is still in pain when I look at society in China. no way I could live. I had to learn to protect If I live inside that anger everyday there is myself. This work is not outside of the main no way I could live. I had to learn to protect theme of my work. You see the white and it’s myself. This work is not outside of the main beautiful, but it isn’t so relaxing because in theme of my work. You see the white and it’s my heart I still feel this heaviness. My work beautiful, but it isn’t so relaxing because in comes from the Chinese reality and reality my heart I still feel this heaviness. My work is the engine of my work. Recently, I went comes from the Chinese reality and reality beyond the external reality. More and more is the engine of my work. Recently, I went I am concerned about the internal, the exbeyond the external reality. More and more pression, and manifestation of thought. Look I am concerned about the internal, the exat NYC. Why is it the way it is? It is due to a pression, and manifestation of thought. Look way of thinking. Depending on how you think at NYC. Why is it the way it is? It is due to a you will make certain actions. You put many way of thinking. Depending on how you think actions together and they make a city. In the you will make certain actions. You put many last few years I have been less prolific and actions together and they make a city. In the have spent more time thinking. Reality used last few years I have been less prolific and to punch me in the face, but now there is no have spent more time thinking. Reality used need for that. I have learned how to respond to punch me in the face, but now there is no to the aggression of reality. need for that. I have learned how to respond of your Square Sketches. Can you describe the aggression of reality. MR. Light seems to be a large component toEnd. what light and color mean to you as an artof your Square Sketches. Can you describe End. ist? what light and color mean to you as an artZD: I asked myself these questions and so I decided to stop using those tools. I studied ZD: I asked myself these questions and so I the history of photography and the cyanodecided to stop using those tools. I studied type and how it in particular was discarded. the history of photography and the cyanoI decided to pick it up again. If you want to type and how it in particular was discarded. be a Photographer you have to master a I decided to pick it up again. If you want to technique that not everyone can master. I be a Photographer you have to master a rediscovered its value, expressing modern technique that not everyone can master. I ideas while using a tool of the past. The cyrediscovered its value, expressing modern anotype is kind of a “dumb” technique but ideas while using a tool of the past. The cyit has aesthetic value. I started to research anotype is kind of a “dumb” technique but it and experiment with it in 2009. After two it has aesthetic value. I started to research years I started to have some control over the it and experiment with it in 2009. After two technique. I learned about the chemical proyears I started to have some control over the cesses and how to use them, but one has to technique. I learned about the chemical proexperiment a lot because if the concentracesses and how to use them, but one has to tion of the chemicals varies it is very hard to experiment a lot because if the concentracontrol the result. After 3-4 years I started to tion of the chemicals varies it is very hard to use it on many materials like rice paper and control the result. After 3-4 years I started to now I feel I have mastered it to a degree. But use it on many materials like rice paper and now I want to go further. It is still a process now I feel I have mastered it to a degree. But and in 2 years time I think I will be where I now I want to go further. It is still a process want to be. and in 2 years time I think I will be where I want to be. MR. Light seems to be a large component

ist? ZD. Light and color are paramount to many artists, but I discovered this bold blue by ZD. Light and color are paramount to many chance because the color of the sky behind artists, but I discovered this bold blue by was very important to me. Every time I start chance because the color of the sky behind a new work I make sketches. Many of my was very important to me. Every time I start sketches in past work seem very different a new work I make sketches. Many of my from each other, but this time I wanted to sketches in past work seem very different have something to match with this exhibifrom each other, but this time I wanted to tion, to make sketches that help clarify the have something to match with this exhibiprocess, but still hold up on their own. tion, to make sketches that help clarify the process, but still hold up on their own. MR. In the past some of your work has been very political and in some way alarmist, like MR. In the past some of your work has been the series you did from 1995-1998, where very political and in some way alarmist, like you painted buildings with your likeness and the series you did from 1995-1998, where marked them for demolition. In contrast, this you painted buildings with your likeness and group of works seems to be largely optimismarked them for demolition. In contrast, this tic. Is this how you see the future of China? group of works seems to be largely optimisHow has your view on life changed from the tic. Is this how you see the future of China? 90’s until now? How has your view on life changed from the 90’s until now?


“My work comes from the Chinese reality and reality is the engine of my work. Recently, I went beyond the external reality�.





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NEGOITA BEGINNINGS




















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SHLOHMO SHLOHMO Photographs by Therese + Joel Words by Kurt McVey

Photographs by Therese + Joel Words by Kurt McVey



“The majority of the world has no idea what’s going on.”

T

he majority of the world has no idea what’s

going on,” says Henry Laufer, the twenty-five year old Los Angeles based musical wunderkind, DJ and electronic music producer, better known in the industry by his stage name, Shlohmo. Despite the mainstream media’s recent bandwagon enthusiasm for the lazily quantified genre of music often referred to as EDM, Laufer isn’t exactly holding his breath for the masses to catch up with his particular tastes, let alone those of his peers. In fact, it’s difficult, if not disingenuous to talk about Laufer without at some point mentioning his

Not to say Shlohmo is consciously leaving his

longtime group of close producer friends that

very talented crew in the rearview. Dark Red just

make up the “professionally unprofessional”

happens to be the most definitive artistic state-

electronic music collective known as WEDID-

ment to come out of WEDIDIT to date. Laufer

IT. Also functioning as a record label, WEDID-

(the hit squad’s unofficial Captain) founded the

IT recently partnered wit the New York based

collective with his manager, current roommate,

label True Panther Sounds for the release of

and friend since the 6th grade, Nick Melons and

Shlohmo’s second feature length album, the

the throwback, techno-trance producer Jasper

relentless and uncompromising, Dark Red,

Patterson (Groundislava) back in High School

dropping April 7th.

Shlohmo’s last LP; Bad

just South of Hollywood. The young misfits

Vibes (2011, Friends of Friends) was consider-

would hone their craft while DJing at baccha-

ably more melodic, with a touch of ambience,

nalian house parties thrown by local rich kids as

moments of distressed jazz funkiness, subtle

well as considerably less Gatsby-inspired affairs

nature sounds (crickets, water droplets), and

in shadier neighborhoods around LA. These var-

a fair hint of the mellow and always thoughtful

ied and often polarized DIY venues pushed the

STS9. Though Laufer admits that Bad Vibes

young men outside of their musical and social

was a turning point, Dark Red, which is con-

comfort zones, encouraged versatility, and ul-

sciously devoid of collaborations, sees the

timately crafted a punk rock “fuck the world”

young musician stepping out as a singular

mantra, while somehow retaining an inclusive

electronic audio shaman, wise and confident

ethos that continues to inform their sound and

beyond his years.

personalities to this day.

Henry Steinway (RL Grimes, formerly Clockwork), also an LA native who attended many of those same incubator parties, reconnected with Laufer and Patterson in NY several years later after dropping out of Northeastern University to pursue a career in music. It was during this somewhat isolated period on the East Coast that the collective crystallized in earnest. New additions to WEDIDIT include Luis Dourado of Purple, Djvan Santos (D33J), and the Canadian producer Ryan Hemsworth, positioning WEDIDIT as one of the most influential and soon to be global forces in the (formerly) underground electronic music scene.




“I think art is a really weird thing right now, where it’s not necessarily all about sincerity,” says Laufer. “For me, it’s about the dichotomy between honesty and taking the piss.” The

One of the most talked about elements of the

young musician seems to appreciate that stay-

entire evening was the presence of a sprite-

ing ahead of the curve sometimes means going

ly and enthusiastic Icelandic pixy who Laufer

back in time to exploit and repurpose a period of

calls the “Obi Wan Kenobi of weird shit,” Björk.

music that may or may not have been a passing

“She was the first one there. I didn’t know how

fad. “There’s definitely a lot of Jungle influence,”

much of a kid she was. She was more of a kid

Laufer says of his latest album. “It kind of ex-

than me.” Throughout Laufer’s set, Björk would

ists in that weird grey area between the late 90’s

intermittently press her face directly up to the

and that early 2000’s Big Beat scene. [Dark Red]

pounding subwoofer, that is when she wasn’t

is kind of on some Chemical Brothers, Fat Boy

feeding the young DJ chocolate covered al-

Slim, kitschy, corny aesthetic.” Much of the con-

monds one at a time as well as offering swigs

scious corniness that floats on the sonic surface

from a strangely bottomless champagne bottle

of this album belies a darker, more atmospheric,

wrapped in a black plastic bag, which she kept

psychedelic film noir underbelly. Simple beats

pulling from her purse. “That was some [David]

bump through a cacophony of harsh and abra-

Lynch shit,” Laufer says with a laugh. The only

sive industrial sounds, creating a cinematic land-

thing that was missing from the performance

scape that evokes the early 160/80, double time

was Lillie, the famous Chicken that once upon

break-beat kinetic insanity of Aronofsky’s right

a time played hapless customers in tick-tack-

hand man Clint Mansell replete with Cliff Marti-

toe at the Chinatown venue.

over 30 pads called “The Trap Cat.”

but seemingly out of the box synthesizers. “A lot

The presence of Björk at Shlohmo’s show is

“I’m really trying to make it about the music on

of the recording process is me trying to fuck shit

a telling one, as Laufer often evokes the next

up,” say Laufer. “It’s been more in house lately,

level, conceptual leanings of the young Ven-

but with very little plug-ins and your typical soft-

ezuelan producer, Arca, who helped produce

ware. This album is about anti-cleanliness, with

Björk’s most recent album Vulnicura. The Ice-

shitty, raw sounds, like an old unearthed demo.

landic singer’s wide-eyed, groupie-like infatu-

Old cassettes are my gold.”

ation with the chill and humble Laufer could

nez’s 1980’s vintage guitar pick ups and organic

also be attributed to his penchant for the Keeping in line with the sort of brusque, vintage

avant-garde, multi-sensory performance seen,

neon corniness, Laufer chose a narrow and ob-

heard and felt in the work of Björk’s ex, Mat-

scure downtown arcade called Chinatown Fair

thew Barney. Like many of the aforementioned

Family Fun Center for his sneak peak album lis-

musicians, who have or will one day tran-

tening party during last month’s New York Fash-

scend the specific medium for which they’re

ion Week. “We wanted to do something really

best known, the journey can be an alienating

bizarre; a kind of Gaspar Noé, Enter the Void

one. “I’m so disconnected now. Every few

thing. We also just wanted to smoke out a small

months I realize how much less I know about

dingy space.” Meshing with Shlohmo’s minimal

popular culture. I mean I try to stay up, but

and haunting jams were “hadoukens” coming

the shit I like has never coincided. When the

from Street Fighter 4: Arcade Edition, Chinese

Deep House thing started I was like, ‘What the

step commands emanating from Dance Dance

fuck?’ For a minute I thought Jersey and Juke

Revolution, violent explosions mingled with Ar-

was going to be big, but that was way before

nold’s Schwarzenegger’s unmistakable voice

Disclosure came out.”

coming from the Terminator-themed gun game, as well as the familiar sounds of skeeball, Packman, and more.

Laufer will return from a mini European tour in late March to launch an impressive, 26-city, North American tour. Djvan Santos (on live drums) and a small, rotating lineup of WEDIDIT regulars will join Shlohmo on stage for a more classical band set up with some additional elements he hopes will allow for a welcomed reinterpretation of live performance. Not to depart too far from “that Björk shit,” Laufer promises the addition of a massive percussive pad bank in the shape of a trapezoid featuring

this tour,” says Laufer, though his eyes betray an inner promise that things are most certainly going to get weird. So what does an insightful and experimental electronic music producer do if he’s not shredding guitar at the edge of the stage, scratching at the turntables, or leading an audience on an endless and cheap cycle of rave-up and beats drops behind a laptop? “I tend to stare at the dumbest kids I can find. I can’t help it,” Laufer says with a mischievous giggle. “My eyes get locked on the highest kids or that dude who really needs a water bottle, or maybe he’s fighting with his girl, you know the type, she’s trying real hard but failing to be sexy. I love it.”


“I’m so disconnected now. Every few months I realize how much less I know about popular culture. I mean I try to stay up, but the shit I like has never coincided.”




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cøntributors

1: BENJAMIN VNUK - BEKA Photographer: Benjamin Vnuk / LUNDLUND

Stylist: Josef Forselius

Hair: Dejan Cekanovic / HALL&LUNDGREN

Makeup: Sophia Eriksen / HALL&LUNDGREN

Model: Becca Breymas / MiKAS Stockholm Photo Assistant: Niklas Bergstrand

Thanks to Janne / Spring Studios Stockholm

Fashion Credits:

6 Sweater by Haal 8 Dress by Missoni

10 + 12 Bomber by Nhu Dhuong 14

Blazer with sequins by Karl Lagerfeld

2: MATTEO CARCELLI - PASSAGES 3: RODOLFO MARTINEZ - ANMARI Photographer: Rodolfo Martinez Fashion Stylist: Anthony Pedraza Producer: Jake Freeman Make up Artist: Gitte Guldhammer / Tomorrow Management Hair Stylist: Janice LaTorre Model: Anmari Botha / IMG Models Fashion Stylist Assistant: Jarius LaMount Make up Artist Assistant: Joi Offutt Fashion Credits: 26 Expressionist Print Cut Out Crop Top by Milly Black Silk Gazaar Asymmetrical Skirt by Sally LaPointe White Jacky Mule by United Nude 27 + 28 Beaded Bateau Top By Tracy Reese Black Sheer Striped Silk Culottes by Rosario White Jacky Mule by United Nude 29 White Leather & Ostrich Feather Vest by Sally LaPointe White Static Print Silk Camisole Top by Holographic Universe Cotton Strawberry High Waisted Pants by Jill Stuart Black & White Bella Shoe by United Nude 30 Black & White Ostrich Feather Knit Top by Sally LaPointe Graffiti Print High Waisted Pant by Femme D’ Armes Metal Channel Cuff by Tuleste Silver Samantha Wills Plated Bangle by Samantha Wills 31 Green Leaf Print Layered Silk Top by Osklen Green Leaf Print High Waisted Silk Trousers by Osklen Duster Trench by Tracy Reese Sculptural Silver Hinge Cuff by Ben Amun Antique Open Bangle by Flaca 32 Multi Color Mongolian Fur by Adrienne Landau 34 White Sponge Crepe Tank Jumpsuit by Rosario Large Silver Bangles by Ben Amun Black Lucite Bangle by Circa Sixty Three Black & White Lucite Bangle Circa Sixty Three

4: LUCIEN GEORGES CLERGUE - A MASTER OF LIGHT 35 + 36 El Cordobes, 1965

37 + 38 Nude with Water Pareo, 1955 39 Manitas de Plata and Jose Reyes with the Little Gypsy Dancer, 1955 40 Gypsy Dancer at the Wedding, 1963 41 Cocteau exhales from the set of “The Testament of Orpheus”, 1959 43 + 44 The Giantesses, 1978 By Katharine Cooper, Printer and Assistant to Lucien Clergue from 2004-2014

5: HUGH LIPPE - HANNE Photographer: Hugh Lippe Stylist: Lisa Jarvis Hair: Owen Gould / The Wall Group Makeup: Cyndle Komarovski / Brydges Mackinney Manicurist: Kiyo Okado Model: Hanne Gaby Odiele / IMG Models Production Assistant: Emmie Photo-Assistants: Jordan Walczak + Augusto Ferrer Post Production: Marek & Associates Studio: Shio Fashion Credits: 45 + 46 Bra by Eres 47 + 48 + 49 Bra & Corset by Agent Provocateur Tights by Falke 52 Arm bands by Aguinaga Shoes by Christian Louboutin 53 Clothing by TBD 55 Bra by Kiki De Montparnasse 57 + 58 Vintage Bra available from Byronesque.com 61 TBD 62 Panties by Eres 63 Metal Haness by Aguinaga Panties by Kiki De Montparnesse 64 Tights by Agent Provocateur Cutout Pantyhose by American Apparel Shoes by Christian Louboutin

6: NICOHLAS ALAN COPE - RONIN 7: HANNAH KHYMYCH - KIDS Photographer: Hannah Khymych Stylist: Lisa Jarvis Hair: David Colvin Makeup: Erin Green / Art Dept Model: Kid / Women Post Production: Local Color Casting Director: Jorge Morales / Worldwide Casting Studio: Dune

8: SOLANES - STREET ART

Photographer: Josemaria Solanes Stylist: Raul Alvarez


Hair: Manuel Oliva

Makeup: Nancy Collado Model: Kasey Landoll

Model: Lexie Tapper / Benz Models

Stylist’s Assistant: Janina Butz Fashion Credits:

Fashion Credits:

127 + 128

135

Blouse + Skirt by Tom Ford

Blouse + Trousers set by Like My Mother

129 + 134

Jacket by H&M

Coat by Harbison

Pink Underwear by Calvin Klein

130

Acrylic Bracelet by Bimba y Lola

Blouse + Skirt by Tom Ford

137

131 + 133 + 136

Dress by Bimba y Lola

Stripe Turtleneck by Richard Chai Press

Skirt by Valadez

137

139 +140

Jacket by Bally

Skirt by Abel Lopez

Blouse by Arakas

Eyewear by Wildfox

Choker by Pola Thomson

Top by Valadez

138

Double ring + bracelet by Bimba y Lola

Blouse by Mandarin & General

141

139 + 140

T-shirt by Mancandy

White Tunic by C.F. Goldman

Skirt by Gucci 144 Coat by Burberry Prorsum Dress by Bimba y Lola Eyewear by Dolce & Gabbana 145 + 146 Silk Blouse + Skirt by Dolce & Gabbana Eyewear by Triwa Double Ring by Bimba y Lola Nike AF1 Sneekers for all story

White Shirt (wrapped around waist) by Black’d

12: THERESE + JOEL - SHLOHMO Photographers: Therese + Joel Stylist: Gideon Dunns

Producer: Jake Freeman

Grooming: Tinna Empera

Stylist’s Assistant: Courtney Brown

Talent: Shlohmo

9: JORDAN HEMINGWAY - OUTLANDISH

Location: Shio Studio

Photgrapher: Jordan Hemingway

13: NACER PAUL - SARAH

Stylist: Andreas Aresti

Fashion credits: 104 + 105 Top + Bottom by Search and Destroy Swarosvki piece by Marlon Gobel Boxers by Calvin Klein 106 Hat by Adeen Top + Coat by Walter Von Beirondonck 107 + 108 Marlon Gobel Top Stylist own underwear + pantyhose Wedges by Rick Owens 109 Hat by Adeen Top by Gosha Rubichinskiy 110 Stylists own Pearls Jacket by Walter Von Beriondonck

10: ZHANG DALI - THE AGGRESSION OF REALITY Images courtesey of Klein Sun Gallery, NYC Interview by J. Matthew Riva Thanks to Zhang Dali and his wife

Photographer: Nacer Paul Stylist: Raymond Gee Producer: Jake Freeman Set Design: Sarah Hein Set Design Assistant: Monai McCullough Hair: Seiji Uehara Makeup: Raul Otero using Guerlain Makeup Assistant: Sarah Fiorello Manicurist: Angel Williams for Zoya Model: Sarah Taylor / IMG Models Photographer’s Assistants: Miguel Miranda + Anthony Rosado Stylist’s Assistant: Stephon James Beauty Credits: On skin Guerlain L’or Radiance Concentrate with pure gold, Tenue de Perfection Long Wear Foundation, Maxi Lash Mascara on Eyes, Kiss Kiss Lipstick Fashion Credits: 149 + 150 Coat by Giulietta Socks by DKNY (throughout entire) Shoes by Miu Miu (throughout entire) 151 + 152 Shirt by Giulietta Pants by Piazza Sempione 153 + 154 Top by Mantu Skirt by Katya Leonovich

11: ALINA NEGOITA - BEGINNINGS

155 + 156 Dress by Giulietta

Photography: Alina Negoita

157 + 158 Top by Giulietta

Stylist: Kate Carnegie / Link Mngmt MUA/ Hairstylist: Kim Weber

159 + 160 Shirt by Giulietta Skirt by Preen Line


171

ISSUE 13 CREEM STAFF PUBLISHER:

TODD EDINGER FOUNDER/EXECUTIVE EDITOR:

JENN CRESS

ONLINE EDITOR IN CHIEF:

JAKE FREEMAN ART DIRECTION:

CELINE HENKE CONTRIBUTING EDITORS:

MATTHEW RIVA + LISA JARVIS INTERNS:

YRBENKA ARTHUS + ALANA MILAZZO




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